Without a hiccup, the Los Angeles–based entity Body by Body—artists Melissa Sachs and Cameron Soren, whose joint efforts constitute a single practice—digested Chateau Shatto’s curatorial imposition of four black-and-white lithographs by French Symbolist Odilon Redon. If this pairing seemed capricious, it also happened to reflect, amid the infinite, Tumblr-like scroll of the duo’s research, Body by Body’s prior interest in Redon. For all its glutted culture-jamming, the exhibition “Education Pig” conformed to a beaux-arts structure of sorts, with floor and wall works arrayed beneath a

“Branded Light,” Steven Baldi’s second solo exhibition at Thomas Duncan Gallery, picked up the theme of the camera as simultaneously tool and institution previously broached in “Lens Reflex,” a group show the artist curated at the gallery earlier this year with pieces in various media by Zoë Ghertner, Jacob Kassay, Stephen Prina, Eileen Quinlan, H. Armstrong Roberts, and Torbjørn Rødland. A sort of second act, “Branded Light” furthered the photographer’s take on photographic prints as entities in dialogue with the machines that generate them. For Baldi, this claim is demonstrated by works that

The sculptures that constituted “BODY PARTS & ORACLES,” Chuck Nanney’s first solo exhibition in more than a decade, abide by a lurid color scheme of lime green, neon pink, scarlet, and cerulean, which cumulatively generated an electric lyricism. Most of the objects here on view, mounted to the gallery walls or resting on its floor, were constructed of unassuming materials—household hinges, wooden dowels, Plexiglas sheets, plywood bits—whose acrylic painted surfaces occasionally gleamed with gold, copper, or aluminum leaf. Several were marked with sigils, those mystical emblems constructed